Casas Grandes Ceramics
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I had the supreme honor of working with Juan Quezada in Mata Ortiz, Mexico in 1994. His story of reviving the Paquime' style of pottery making is nothing short of a miracle.
"I was unprepared for the effect that this course has had on me, I knew that it would be Exquisite to be camping out in a beautiful mountain valley with a group of people with similar interests but could in no way have known to what degree it would change my perspective on my own life, and art making." |
Firing the pots using cow patties for fuel
The experience: Camping, exploring, learning the Casas Grandes Pottery making process, making, painting and burnishing our own pots, firing them back at Juan's place.
Exploring, finding ancient ruins in the mountains of Chihuahua
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The finished pieces I made while in Mata Ortiz
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Gifts to myself: Two amazing pots by local Mata Ortiz potters
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There is a terrific children's book about Juan, here is a sample.
The Casas Grandes Experience
written about our Course in Mexico 1994
When I first heard about the class in Casas Grande I was extremely interested, but had some trepidation about going, as well as fear at not being chosen to go. Up until the last moment I was unsure if I could swing it; I had a lot on my mind: moving East and starting a job in Maine immediately upon our return, finding acceptable care for my old dog... the inevitable financial concerns, basically, "life" was getting in the way. But I felt a definite draw to doing this thing.
When I moved to New Mexico from the Northeast Coast just under a year ago. I decided that I would like to learn something about the local Ceramic traditions. I signed up for Southwestern Ceramics, an art history course, there was nothing like it offered at the University of Southern Maine and this introduction to Native American Pottery opened up a new world to me. I felt it all around me. I was living in and around this art, which has roots back to ancient times. To see the close connection of contemporary Native American ceramic art with the ancient Traditions is thought-provoking to be sure. Now the opportunity to travel to Mexico to actually be involved with this phenomena, to not only meet, and see these artists at work, but to study with Juan Quezada was an opportunity not to be missed, I had nothing to do but convince myself that I would come up with the money, not worry about my dog. and deal with the lack of sleep and stress that the move would cause.
.I am going to confess that I did not read the required text until after the course was finished. I skimmed through it, mostly concentrating on the images of the pots, but never got to reading it. I had read the duplicated article and felt that it gave me enough background on top of what I had already heard in the presentations. Again, in retrospect, I am glad that I had not read the book. In fact, I found it a bit painful to read when I finally got around to it, and could not bring myself to complete it. Basically, the writing was terrible, and sentimental - and for the most part I couldn't stomach it. It led me on in ways that I found inappropriate and I am thankful not to have had certain images in my mind prior to actually being there. It was much better to actually "live it", and draw my own deductions and observations.
Throughout the year we were shown various examples of the work being done in Mata Ortiz. Having studied the Native American tradition, I saw a similarity in this work. But to a greater degree, I noticed a difference. This work felt Freer, less restrained. The various forms and painted designs were diverse and seemed to suggest that a great deal of experimentation and innovation was going on within the Casas Grandes "tradition". Slowly the idea of actually going to meet these people began to materialize. The lectures, slides, and presentations were all given quite casually - more as gifts - than academic requirements. We were given the opportunity to attend all of these things, but none was pressed on us. It was there for anyone who was interested. In retrospect, I see this whole experience as a gift.
I was unprepared for the effect that this course has had on me. I knew that it would be exquisite to be camping out in a beautiful mountain valley in Northern Mexico with a group of people with similar interests, but could in no way have known to what degree it would change my perspective on my own life, and art making. And, really, I am still unaware of how this will ultimately translate in the scheme of who I am and what I do. It seems that I can only bounce my experiences off of what I already know. I try to be myself as much as possible, but I like to remain open-minded, and absorb as much as I can from my surroundings. I find that I am constantly changing, yet the core of who I am remains. More and more I am coming to a fuller understanding of myself through this process. This course has helped me move closer to that understanding.
In relation to this I feel that the real beauty in Juan is that he appears to truly know who he is, and where he belongs. This strength, I believe, helps clear the way for complete attention to his art. And this devotion has brought about an intensely fine, intimately innovative form of Art. From what I understand, the motivation to begin making ceramics was purely for love of Art and the need to create. Despite Juan's success, both artistic, and financial, he is a humble man. He is sensitive, giving, and unpretentious. This impresses me - gives me hope - especially coming from a society which more and more seems to worship money, that has everything, and the best of everything. I am skeptical of most forms of economic gain - for the sake of material wealth. I struggle with the issue in my personal life, and have not come to any conclusions or solutions. In Mata Ortiz I see an embrace of this system - and acceptance of the necessity. Yet, I also see a difference, a holding-on to traditional ways of life. The people of Mata Ortiz were friendly, unassuming, and giving. I realize that this is only one town, and a small one at that, yet I see it as a microcosm, a model. I felt welcome, and was amazed at the acceptance of our presence there. Quite plainly, I was impressed.
I see Juan's art as being utterly dependent on his surroundings. It is a bond, a relationship with the land. It is about history, about his ancestors and a celebration of finding this past, and what it has brought to the present, and will bring to the Future. The past and the present necessarily work together. It seems this this would provide an absolute sense of place for Juan, and the other Potters. Seeing Juan is in his surroundings... there was a sense of ownership there. The land is his, it is there for him to use, and it is utterly beautiful. Again a reciprocity, between the land - what it gives to Juan - in return for his respect, and appreciation of its gifts and beauty.
similarly, I find interesting the lack of need for "classifying" this art form - specifically in terms of Western Art movements. It is what it is - plain and simple. And it is successful regardless of current trends in the Arts, and art criticism. The appeal of this work, and the attention it has drawn makes it seem logical that there would have been some foresight here, yet the evolution of the revival was completely spontaneous. I am incredulous at this fact. I keep thinking - myself - about this course, in hindsight - as I assume Juan must about the phenomena of the revival. While hearing about the class being offered, I noticed an interesting process unfolding; seeing the work, learning about updates and the status of the class, hearing stories about communications and travel to Mata Ortiz, and seeing it all come together ( just in time). Then actually going there, and all that it entailed. It was a slow, measured process - like the ticking of the clock - and thinking about it now, with hindsight, and from a distance... I see a reciprocity, and a connection between this process, and the process of change happening in Mata Ortiz. Something to the effect of: that you can never know the outcome before the event. How could he have anticipated this? And how will the continued interest affect the nature of Mata Ortiz? I think the beauty and Intrigue of it - like all mysteries - is precisely this " not knowing".
Art and Life - Life and Art
Appreciation of the beauty of the land
Living - here and now
Following your passion... and accepting its rewards
Being
Believing
Loving
I am scaring myself at what I am writing... what did I learn? where did we go? I know what I saw in Juan... but what of the other partners? Does the same apply? They surely cannot all have the same objectives, feelings, aspirations... Juan was / is the impetus, the cultivator of this revival which is now available for anyone who wants it. But where does it go from there? I met some incredibly talented people who embrace and have mastered this art - to such a degree that it makes me wonder how it is possible that within this rather small community there could be so many who could so readily accomplish, with sensitivity, this difficult art. Where is their motivation?
Another potter to whom we were introduced Andres Villalaba gave me a bit of insight into this question. I noticed a complete difference in his technique and philosophy, which was less about innovation and more about tradition - holding strongly to designs which originate in the Paquime' style. I necessarily respect his choice, and because of it find his work extremely appealing. His passion comes out in his artwork. There is an integrity here in knowing what is popular, yet remaining true to himself. The mark of a true artist, I believe. And then there are the numbers of potters, less technically adept, and the young potters, just starting out - who produce wares for sale at very low costs - their work is vigorous, ambitious - and finds a ready market... myself included.
I am not sure where to go with all of this... There is a lot to think about... How does a class of University of New Mexico students fit into the equation? Have we been mutually affected, benefited, confused? Do my interpretations matter? Was this about being with other students, or about another culture, or about art, or about myself? Perhaps it must be looked at from all of these angles - from all perspectives. The complete experience was great. Having just spent an intense semester creating a body of work in an atmosphere of spontaneity... working blindly, so to speak - it was refreshing to be so focused. To know what I was up to for even this short time was a breath of fresh air. I felt free to give myself up to the learning process. Juan is a fantastic teacher. This combined with my thirst for knowledge proved to be very successful. The days of work were my favorite part of the trip - to just sit and work on a piece for hours - letting all else slip away... there in this quiet, Mountain Valley - the Heat, rain, wind... I felt a sort of calm, and a rhythm. We had a purpose, a reason for being there - so we could just be... Such a simple thing, yet difficult to achieve amidst the multitude of influences in our lives.
I feel confident in saying that this course was an invaluable lesson in life. A big thing to say about a mere two weeks, I know. However, I do not assume this to be the definitive, or the last word on it. For myself, I hope to come closer to living the reality that the gift of this class has shown me.
written about our Course in Mexico 1994
When I first heard about the class in Casas Grande I was extremely interested, but had some trepidation about going, as well as fear at not being chosen to go. Up until the last moment I was unsure if I could swing it; I had a lot on my mind: moving East and starting a job in Maine immediately upon our return, finding acceptable care for my old dog... the inevitable financial concerns, basically, "life" was getting in the way. But I felt a definite draw to doing this thing.
When I moved to New Mexico from the Northeast Coast just under a year ago. I decided that I would like to learn something about the local Ceramic traditions. I signed up for Southwestern Ceramics, an art history course, there was nothing like it offered at the University of Southern Maine and this introduction to Native American Pottery opened up a new world to me. I felt it all around me. I was living in and around this art, which has roots back to ancient times. To see the close connection of contemporary Native American ceramic art with the ancient Traditions is thought-provoking to be sure. Now the opportunity to travel to Mexico to actually be involved with this phenomena, to not only meet, and see these artists at work, but to study with Juan Quezada was an opportunity not to be missed, I had nothing to do but convince myself that I would come up with the money, not worry about my dog. and deal with the lack of sleep and stress that the move would cause.
.I am going to confess that I did not read the required text until after the course was finished. I skimmed through it, mostly concentrating on the images of the pots, but never got to reading it. I had read the duplicated article and felt that it gave me enough background on top of what I had already heard in the presentations. Again, in retrospect, I am glad that I had not read the book. In fact, I found it a bit painful to read when I finally got around to it, and could not bring myself to complete it. Basically, the writing was terrible, and sentimental - and for the most part I couldn't stomach it. It led me on in ways that I found inappropriate and I am thankful not to have had certain images in my mind prior to actually being there. It was much better to actually "live it", and draw my own deductions and observations.
Throughout the year we were shown various examples of the work being done in Mata Ortiz. Having studied the Native American tradition, I saw a similarity in this work. But to a greater degree, I noticed a difference. This work felt Freer, less restrained. The various forms and painted designs were diverse and seemed to suggest that a great deal of experimentation and innovation was going on within the Casas Grandes "tradition". Slowly the idea of actually going to meet these people began to materialize. The lectures, slides, and presentations were all given quite casually - more as gifts - than academic requirements. We were given the opportunity to attend all of these things, but none was pressed on us. It was there for anyone who was interested. In retrospect, I see this whole experience as a gift.
I was unprepared for the effect that this course has had on me. I knew that it would be exquisite to be camping out in a beautiful mountain valley in Northern Mexico with a group of people with similar interests, but could in no way have known to what degree it would change my perspective on my own life, and art making. And, really, I am still unaware of how this will ultimately translate in the scheme of who I am and what I do. It seems that I can only bounce my experiences off of what I already know. I try to be myself as much as possible, but I like to remain open-minded, and absorb as much as I can from my surroundings. I find that I am constantly changing, yet the core of who I am remains. More and more I am coming to a fuller understanding of myself through this process. This course has helped me move closer to that understanding.
In relation to this I feel that the real beauty in Juan is that he appears to truly know who he is, and where he belongs. This strength, I believe, helps clear the way for complete attention to his art. And this devotion has brought about an intensely fine, intimately innovative form of Art. From what I understand, the motivation to begin making ceramics was purely for love of Art and the need to create. Despite Juan's success, both artistic, and financial, he is a humble man. He is sensitive, giving, and unpretentious. This impresses me - gives me hope - especially coming from a society which more and more seems to worship money, that has everything, and the best of everything. I am skeptical of most forms of economic gain - for the sake of material wealth. I struggle with the issue in my personal life, and have not come to any conclusions or solutions. In Mata Ortiz I see an embrace of this system - and acceptance of the necessity. Yet, I also see a difference, a holding-on to traditional ways of life. The people of Mata Ortiz were friendly, unassuming, and giving. I realize that this is only one town, and a small one at that, yet I see it as a microcosm, a model. I felt welcome, and was amazed at the acceptance of our presence there. Quite plainly, I was impressed.
I see Juan's art as being utterly dependent on his surroundings. It is a bond, a relationship with the land. It is about history, about his ancestors and a celebration of finding this past, and what it has brought to the present, and will bring to the Future. The past and the present necessarily work together. It seems this this would provide an absolute sense of place for Juan, and the other Potters. Seeing Juan is in his surroundings... there was a sense of ownership there. The land is his, it is there for him to use, and it is utterly beautiful. Again a reciprocity, between the land - what it gives to Juan - in return for his respect, and appreciation of its gifts and beauty.
similarly, I find interesting the lack of need for "classifying" this art form - specifically in terms of Western Art movements. It is what it is - plain and simple. And it is successful regardless of current trends in the Arts, and art criticism. The appeal of this work, and the attention it has drawn makes it seem logical that there would have been some foresight here, yet the evolution of the revival was completely spontaneous. I am incredulous at this fact. I keep thinking - myself - about this course, in hindsight - as I assume Juan must about the phenomena of the revival. While hearing about the class being offered, I noticed an interesting process unfolding; seeing the work, learning about updates and the status of the class, hearing stories about communications and travel to Mata Ortiz, and seeing it all come together ( just in time). Then actually going there, and all that it entailed. It was a slow, measured process - like the ticking of the clock - and thinking about it now, with hindsight, and from a distance... I see a reciprocity, and a connection between this process, and the process of change happening in Mata Ortiz. Something to the effect of: that you can never know the outcome before the event. How could he have anticipated this? And how will the continued interest affect the nature of Mata Ortiz? I think the beauty and Intrigue of it - like all mysteries - is precisely this " not knowing".
Art and Life - Life and Art
Appreciation of the beauty of the land
Living - here and now
Following your passion... and accepting its rewards
Being
Believing
Loving
I am scaring myself at what I am writing... what did I learn? where did we go? I know what I saw in Juan... but what of the other partners? Does the same apply? They surely cannot all have the same objectives, feelings, aspirations... Juan was / is the impetus, the cultivator of this revival which is now available for anyone who wants it. But where does it go from there? I met some incredibly talented people who embrace and have mastered this art - to such a degree that it makes me wonder how it is possible that within this rather small community there could be so many who could so readily accomplish, with sensitivity, this difficult art. Where is their motivation?
Another potter to whom we were introduced Andres Villalaba gave me a bit of insight into this question. I noticed a complete difference in his technique and philosophy, which was less about innovation and more about tradition - holding strongly to designs which originate in the Paquime' style. I necessarily respect his choice, and because of it find his work extremely appealing. His passion comes out in his artwork. There is an integrity here in knowing what is popular, yet remaining true to himself. The mark of a true artist, I believe. And then there are the numbers of potters, less technically adept, and the young potters, just starting out - who produce wares for sale at very low costs - their work is vigorous, ambitious - and finds a ready market... myself included.
I am not sure where to go with all of this... There is a lot to think about... How does a class of University of New Mexico students fit into the equation? Have we been mutually affected, benefited, confused? Do my interpretations matter? Was this about being with other students, or about another culture, or about art, or about myself? Perhaps it must be looked at from all of these angles - from all perspectives. The complete experience was great. Having just spent an intense semester creating a body of work in an atmosphere of spontaneity... working blindly, so to speak - it was refreshing to be so focused. To know what I was up to for even this short time was a breath of fresh air. I felt free to give myself up to the learning process. Juan is a fantastic teacher. This combined with my thirst for knowledge proved to be very successful. The days of work were my favorite part of the trip - to just sit and work on a piece for hours - letting all else slip away... there in this quiet, Mountain Valley - the Heat, rain, wind... I felt a sort of calm, and a rhythm. We had a purpose, a reason for being there - so we could just be... Such a simple thing, yet difficult to achieve amidst the multitude of influences in our lives.
I feel confident in saying that this course was an invaluable lesson in life. A big thing to say about a mere two weeks, I know. However, I do not assume this to be the definitive, or the last word on it. For myself, I hope to come closer to living the reality that the gift of this class has shown me.